The Abominables

2019 ◽  
pp. 27-52
Author(s):  
Marco Pinfari

This chapter explores the use of monster metaphors in framing “terrorist” actors since the French Revolution. While acknowledging that these metaphors effectively present the “terrorist” as an abject “other,” it argues that the main purpose of the use of monster imagery in framing “terrorists” is to highlight their unmanageability, which may be instrumental in securing popular backing for specific types of rule-breaking behavior in counterterrorism. It presents these arguments while reviewing examples drawn from the origins of modern terrorism in the late eighteenth and nineteenth centuries. These include the gorgon Medusa, which appears for instance in relation to Robespierre’s “Reign of Terror,” and the many-headed hydra—one of the oldest metaphors for representing unruly behavior that proves unmanageable. It then introduces another type of unmanageable monster that would become particularly popular to frame terrorists—Frankenstein’s monster—and its use in the late nineteenth century to frame Irish nationalism.

Author(s):  
Aileen Fyfe

This paper investigates the finances of the Royal Society and its Philosophical Transactions , showing that in the late eighteenth and nineteenth centuries journal publishing was a drain on funds rather than a source of income. Even without any expectation of profit, the costs of producing Transactions nevertheless had to be covered, and the way in which this was done reflected the changing financial situation of the Society. An examination of the Society's financial accounts and minute books reveals the tensions between the Society's desire to promote the widespread communication of natural knowledge, and the ever-increasing cost of doing so, particularly by the late nineteenth century.


1984 ◽  
Vol 17 (2) ◽  
pp. 173-180 ◽  
Author(s):  
Bernard Elliott

At the Reformation, three possibilities faced English Catholics. They could continue to be Catholics and so suffer the penalties of the penal laws; they could conform to the Church of England; or they could adopt a middle course and become Church Papists. The Nevills of Nevill Holt, near Market Harborough in Leicestershire, went through all three phases. In the reign of Edward VI, Thomas Nevill I became a Protestant. His grandson, Thomas Nevill II, became a Church Papist under James I; and Thomas II’s son, Henry Nevill I, continued to be one at the time of the Civil War. But Henry l’s son William was definitely a Catholic and went into exile with King James II, while William’s son, Henry Nevill II, was an open Catholic under Charles II. Henry Nevill II’s descendants continued to be Catholics throughout the eighteenth and nineteenth centuries until they left Nevill Holt in the late nineteenth century.


Literator ◽  
1997 ◽  
Vol 18 (1) ◽  
pp. 93-110
Author(s):  
T. Ullyatt

The basic purpose of this article is to survey the visions of America embodied in a number of American long poems from different literary periods. Since there have been a considerable number of long poems written in America during its almost 350-year history, it has been necessary to make some stringent selections. The texts used here have been chosen for their literary-historical importance. Starting with Michael Wigglesworth's 1662 poem, The Day of Doom, the article proceeds to the work of Joel Barlow and, to a lesser extent, Philip Freneau from the late eighteenth and early nineteenth centuries before approaching Walt Whitman’s Leaves of Grass from the late nineteenth century, and Alien Ginsberg's poem. Howl, from the mid-twentieth century.


2018 ◽  
Vol 11 (1) ◽  
pp. v-vii
Author(s):  
Diederik F. Janssen

I am pleased to introduce Boyhood Studies, Volume 11, Issue 1. This issue’s authors unanimously invite an appreciation of the many regional, temporal and contextual inflections of manliness-in-the-making. After all: “Among boys, as among men, there are ‘all sorts and conditions;’ environment moulds them” (Anon. 1890: 147). This merits a bit of intercontinental timetravel. Ecce puer: from Lord Baden-Powell’s and American contemporaries’ middle ages to late nineteenth-century Mexico’s French Third Republic, back to Baden-Powell and into the Great War, and back again to presentday Mexico. In Mexico, on both visits, we are travelling back and forth as well, between the rural and urban experience.


2013 ◽  
Vol 10 (2) ◽  
pp. 399-414 ◽  
Author(s):  
STEFANIE GÄNGER

This essay explores the journeys of Andean pre-Columbian antiquities across the Americas and the Atlantic during the late nineteenth century along the veins of intellectual networks, between Andean communities and European, North American and Creole collectors and museums. Centred on the studies and collection of José Lucas Caparó Muñíz, the essay focuses on the Creole and European practice of lifting pre-Columbian objects preserved or “still” in use in Andean communities out of their context and taking them to European and Creole private and public collections. Intellectual history has long paid scant attention to the many voices that its authors silenced, disfigured and suppressed. By looking at the journeys of Andean artefacts—at their owners, their brokers and their losers—this erssay traces the systemic hierarchies and the chasms of an expanding modern intellectual culture.


2009 ◽  
Vol 1 (1) ◽  
Author(s):  
Katrina Witt

The multi-cultural nature of the Austro-Hungarian Empire in the late nineteenth century created much unrest among the many different ethnic groups within the Empire. As each group struggled against the other groups for more rights, dissolution threatened the Empire. The Hapsburg government under Franz Joseph used two different strategies in Austria and Hungary to keep the country united, and these strategies successfully kept the Empire together for half a century.  After the Emperor’s death, opposing interests and separatism proved too powerful without Franz Joseph’s uniting influence, and the Austro-Hungarian Empire collapsed.


Author(s):  
Elizabeth M. Holt

Arabic readers in the late nineteenth century struggled to negotiate the contradictions of their position in the world economy: Beirut was at once a peripheral hub of speculation, a market for finished French textiles, and an industrializing source of the unrefined silk off which French factory owners profited. While Al-Muqtaṭaf, founded in 1876, was averse (at least in its Beirut years) to speculation and instead championed the local production of commodities in all their materiality, for Salīm al-Bustānī and Al-Jinān, it was becoming clear that finance, through the many fictions it enabled, was decisively changing the future of the region. Al-Bustānī offered late nineteenth-century Beirut and more generally readers of Arabic lessons in how the credit-driven consumption of material goods allowed the keeping up of appearances in his novels Budūr (1872), Bint al-ʿaṣr (1875, Daughter of the Age) and the early 1880s Sāmiyyah.


Author(s):  
Andrew Smith

This chapter examines the relationship between late eighteenth- and early nineteenth-century gothic, the sensation fiction of the middle decades of the nineteenth century, fin-de-siècle gothic works and modernism. It argues that in the late nineteenth century a distinctive, but implicit, gothic aesthetic developed which was characterised by a concern with divided selves, fragmented narratives and science. It also shows that this aesthetic was distinguished by optimistic narratives about adaptability and the presence of a mystical or spiritual world.


2017 ◽  
Vol 7 (2) ◽  
pp. 124-142
Author(s):  
Giles Whiteley

This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville's Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.


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